So, the narrowing down of what film to go see yesterday came down to this film and The Hobbit: The Desolation of Smaug; this one won out, but Smaug will probably be seen within the week since I’m off all week from work.

American Hustle takes place in 1978, and primarily follows the characters Irving Rosenfield (Christian Bale), a small time con-artist and dry cleaner owner, and Sydney Prosser (Amy Adams), his mistress and accomplice who mostly acts under a British alias of Lady Edith Greensly. After getting into a bind with the FBI, they agree to assist agent Ritchie DiMaso (Bradley Cooper) on a small series of cons that eventually leads to hopeful nabbing of not only members of congress and popular Camden, N.J. mayor Carmine Polito (Jeremy Renner), but also several high standing members of the mob. In the process, Rosenfield’s difficult wife, Rosalyn (Jennifer Lawrence), manages to get intertwined at all the wrong places at all the wrong times.

Director David O. Russell has definitely hit his stride with his past few films, solidifying himself as a writer/director to be reckoned with. This film expertly captures the gawdy era of the late 1970s, while carrying a very reminiscent feeling of a Martin Scorsese film from his heyday, especially Goodfellas and Casino. Hey, we even get a surprise cameo from Bobby D!

The script is strong and has some surprising twists, it is shot beautifully and smartly, but where the film really shines is in its performances. Bale and Adams are absolutely superb, and Cooper and Renner are excellent supporting characters. Even from a physical perspective, Bale has completely transformed himself gaining some 65 pounds, and his New York accent is very impressive, especially knowing this is a Welshman playing the part.

I thoroughly enjoyed this film and would highly recommend it. I think we’re going to see a lot of this one through the awards season.

OK, I know I have neglected this site terribly, but I’m going to try my best to hop back on board with some regularity. Work, hobbies, social activities and just plain boring errands and such have literally eaten up most of my time as of late. However, in an effort to keep some form of consistency with the updates, I’m going to try to do “mini-reviews”. So, the new posts might not be as in depth as some of the old reviews, but at least there won’t be breaks of months on end.

OK, now on to Greenberg. After spending the better part of 30 minutes looking for something I either haven’t seen and/or was in the mood to see on Netflix, I came upon this quirky little flick. A Noah Baumbach film, I kind of knew what to expect going into it — your typical mumblecore, Woody Allen-lite pseudo-intellectual comedy-drama. And, guess what? That’s exactly what it turned out to be!

Ben Stiller plays the lead role of Roger Greenberg, a 40-something more-or-less unemployed ex-musician who just exited a mental hospital and is spending 6 weeks at his brother’s house in LA to focus on doing nothing. His brother, a wealthy hotelier is on vacation with the family in Vietnam, and LA also serves as Roger’s hometown, though he currently lives in New York, and seems to carry a New York-esque attitude about life in general.

His brother’s nanny/assistant, Florence, is played by stereotypical Baumbach-written female, Greta Gerwig — a slightly neurotic mid 20-something with low self esteem and seemingly no direction in life. As Greenberg revisits his old friends and former bandmates during his six week stay, he of course, begins a relationship of sorts with Florence that carries all the insecurities and road bumps of what we have come to expect from Baumbauch’s films.

I know I am weighing heavily on the stereotypical nature of this movie to its director’s style and canon; however, don’t get me wrong, Greenberg is not a bad film. It’s definitely not Baumbauch’s best work, but by no means bad. I enjoyed the film, and think anyone who has an affinity for oddball/neurotic romance films will enjoy. Yes, the main character of Roger Greenberg is fairly morose and pathetic to a degree, but Stiller’s performance helps you build enough empathy to accept him as a protagonist.

Since I’ve gotten my first light weekend in nearly two months, I figured I would post a bit more extensive an entry than the norm. One of my favorite plot motivators is the concept of time travel. I think almost anyone can garner some form of fascination with the idea of either moving forward on your personal timeline, or backwards; whether it is to see what happens to yourself, to change a regret from the past, or witness an historic event of some sort, time travel is just plain cool. Over the years, there have been literally hundreds of movies, television series and television episodes that have dealt with the idea or process of time travel, and alternatively, there have been dozens of different ways, machines and methods in which to perpetuate this quantum phenomena. So, because of such, I’ve decided to post an entry of my personal top 5 favorite methods of time travel in the movies and television:

5. THE NECRONOMICON (Army of Darkness – 1992)

What’s not to love about an ancient book that is steeped in Lovecraftian pseudo-horror culture? An essential part of the entire Evil Dead series, this ancient book unleashes loads of troubles for the primary character, Ash, over three films. In the third, however, it not only gives him a ridiculously fun to watch run-for-his-money, but also transports him back to medieval England where he gets to fight skeleton soldiers, demon knights and other creepy/silly abomonations.

Out of the entirety of this list, I have to say that this is probably the one most of us would be happy to not come across. Though, as kids, many dream of finding some old book or relic in our grandparent’s attic that might have some kind of mystical power, this is most definitely not the book we would want to come across. Traveling to medieval England sounds pretty cool, but fighting skeleton armies and demon knights does not….well, unless I get the chainsaw arm, then maybe…as long as I can still play guitar.

4. A TIME TURNER (from Harry Potter and the Prisoner of Azkaban – 2004)

For a movie, and novel before that, that revolves around a magical school of witchcraft and wizardry, it was only fitting to have a device that could manipulate time at some point in the series. The Time Turner, a relic that resembled an hourglass on a necklace, could travel back in time a short distance corresponding to the number of times it was turned. Though only for going back in time a mere few hours, this device played a major role in the ending plot of the third Harry Potter movie/novel. Given to Hermione Granger by Professor McGonagall, Harry and Hermione use the device to rescue a magical beast, Buckbeak, before his untimely demise which had already happened by the time the device is used. This device also signifies a realization of Harry’s that awakens a power from deep within, a scene which is one of my all-time favorites in the entire Harry Potter series (of which, of course, I am a megafan and not afraid to admit it).

Though the device can only go back a few hours in time, on a lot of occasions, that would be all you need! Imagine how many things you could change if you could just buy an hour or two back to slightly change your actions, decisions or direction. How easy all those careless mistakes would be to change in the blink of an eye! (or turn of a weird looking necklace…)

3. THE TIME MACHINE (from The Time Machine – 1960)

Did you really expect me not to include this one on the list? Based on the H.G. Wells classic, this is the standard for which all other time machines were founded. Over the years, there have been many adaptations of Wells’s classic science-fiction novel; however, it is generally accepted that this one by director George Pal stands a head above the rest. Rod Taylor plays the eponymous Time Traveller and the device itself is everything you would imagine a time machine to be, a strange looking car-like chair with a whirly gong-thing on the back. Well, anyway, it looks like a vehicle and it has those strange additions which have come commonplace in time travel narratives attached. A classic example, and the basis of nearly all those to come; however, not the coolest one!

2. DOC BROWN’S DELOREAN (from Back to the Future – 1985)

A DeLorean could very well be called one of the ugliest cars in existence, but there was just something so damned cool about them! I don’t know whether it was the stainless steel exterior, the space age like black leather interior with funny looking knobs all over the place, or the iconic gullwing doors, but anytime I’ve ever crossed one, I couldn’t help but stop and stare.

When Robert Zemeckis and Bob Gale were considering what the time traveling device in their new script should be way back in 1984, they decided to find something that would appear futuristic to people of 1955, where the back-in-time narrative takes place. They decided on the DeLorean DMC-12, and I couldn’t agree more, people in 1955 would have surely thought it from another planet. Powered by a central processing device known as the flux capacitor, this baby ate plutonium for fuel and whizzed through time at precisely 88 miles per hour. If I could figure out the conversion kit on an old DMC-12 to install a flux capacitor and time controls, you better believe there would be one in my garage. As Doc Brown said in the first installment, “If you are going to travel through time, you might as well do it in style!”

1. TARDIS (from Doctor Who – 1963-1989, 2005-present)

Ah, the TARDIS, the constant companion to the Doctor. Standing for Time And Relative Dimension In Space, the TARDIS is a Galifreyan (the Doctor’s home planet) time traveling device that could cloak itself to be literally anything for cover; unfortunately, it got stuck as a 1960s London police box.

Over time, the Doctor learned to love it’s constant shielding, and the TARDIS has remained stuck on that exterior setting ever since. I don’t think anything could be more quirky, fun or insanely silly to travel through time and space in, but when you get right down to it, it is very, very cool. Bigger on the inside than the outside, the TARDIS has seemingly endless rooms and compartments that contain seemingly endless items and relics within. It’s built like a tank, has a killer coat of blue on the outside and can translate any language in the galaxy for you just by being close by! If any of you have known what it is like to love a car or boat, it could only pale in comparison to the Doctor’s love of the TARDIS. And, after enough episodes, you start to love it to, which makes it the list topper of my all-time coolest time machines in the movies and television!

*I didn’t forget Bill and Ted’s Excellent Adventure, but they paid homage to the TARDIS, so the TARDIS wins out.

Actress in a Leading Role
Glenn Close in “Albert Nobbs”
Viola Davis in “The Help”
Rooney Mara in “The Girl with the Dragon Tattoo”
Meryl Streep in “The Iron Lady”
Michelle Williams in “My Week with Marilyn”

Like this:

Usually when someone is a super-centenarian (110+), that is their biggest claim to fame. However, for Frederica Sagor Maas, she was also a trail blazing female screenwriter in early Hollywood.

Born on July 6, 1900, Frederica Sagor obtained a degree in journalism from Columbia University before taking a position as a story editor for Universal Pictures, and then as a screenwriter for Preferred Pictures in 1924. Two of her most prominent titles were the Clara Bow and Garbo vehicles The Plastic Age and Flesh and the Devil. Following solid work in the industry for several years, like many in the silent era, her workload declined in the 1930s. Her last credit was for The Shocking Miss Pilgrim was in 1947.

She married fellow screenwriter, Ernest Maas, in 1927; the couple would remain married until his death in 1986 at the age of 94. After many rejections of both her and her husband’s screenplays, coupled with the stock market crash of 1929, Maas and her husband became disillusioned and impoverished. Eventually, however, she started a second career as a stenographer for an insurance agency, in time moving to the role of adjuster due to “adjusting” her age by 10 years on her resume.

Never one particularly fond of the movie industry or how it treated its employees, she wrote her tell all memoir “The Shocking Miss Pilgrim” in 1999 at the age of 99. Perhaps her greatest feeling of satisfaction was being able to tell her story and knowing that all those that did her wrong or whom she despised were in the ground. In an interview with Salon in 1999, she said, “I can get my payback now. I’m alive and thriving and, well, you S.O.B.’s are all below.”

It is with some personal sadness to hear of Frederica’s passing last week at the age of 111. In 2008, I contacted her about the possibility of doing an extensive on camera interview about her life and times in Hollywood. I was contacted back by her niece, Phoebe, who told me that, though Frederica’s mind was sharp many days, that would be a taxing thing for her and that some days were better than others. Being 108 at the time, that is not a shocker at all and I completely understood. I further found out that famed film historian Kevin Brownlow had beat me to the chase so to speak by doing a series of interviews with Maas in 1999, though I don’t know that any of the footage has been released or used as of this time. I’m sure Mr. Brownlow is waiting for the most opportune medium to present the footage.

Though we didn’t end up doing an interview, Frederica’s niece Phoebe was extremely kind and said there were several boxes full of correspondence and other items from Maas’s time in Hollywood that she would be happy to look through if any of the information was helpful for any of my writing efforts. Furthermore, nearly a year later, Phoebe sent me a wonderful article from the San Diego Times regarding Frederica’s solidification as one of the oldest inhabitants of California. I sent a gracious “thank you” note and Christmas card that year. According to Phoebe, Frederica was ready for her time to come; after a certain age, it becomes difficult to go on when all your friends, family and loved ones are gone and it’s hard to do the things you once loved. Though it’s always tough to see someone go, I’m sure Frederica is at peace now with her husband and other friends and family with an eternally youthful mind and body. We are so lucky, as a film historian community, to have had someone with her knowledge so willing to share her experiences and stories of that early time in cinema’s history.

Like this:

So, last night was the Golden Globes Awards presentation, likely the second most prestigious awards show and a usual pre-cursor and foreshadower of what usually occurs at the Oscars ceremony a couple months later. I have to be completely honest here, I missed the show; however, I did have a good reason, as I spent the entire weekend moving into my new house. This morning, I’m mentally and physically exhausted, compounded by lack of sleep due to an anxious dog and two anxious cats in a new place, but I still want to take a brief moment to recap the wins. Being that I’ve been in the moving process for the past couple weeks, I’ve failed to see as many of the top contenders as would have hoped. Now that I’m a little more settled, I’ll be catching up in time for the Oscars, so come back soon when I can have a more formulated opinion. Anyway, here is the entire list of winners from last night’s ceremony:

Best Drama
The Descendants

Best Comedy/Musical
The Artist

Best Animated Film
The Adventures of TinTin

Best Actor in a Drama
George Clooney, The Descendants

Best Actor in a Comedy or Musical
Jean Dujardin, The Artist

Best Supporting Actor in a Motion Picture
Christopher Plummer, Beginners

Best Actress in a Drama
Meryl Streep, The Iron Lady

Best Actress in a Musical or Comedy
Michelle Williams, My Week with Marilyn

Best Supporting Actress in a Motion Picture
Octavia Spencer, The Help

Best Director
Martin Scorsese, Hugo

Best Screenplay
Midnight in Paris, Woody Allen

Best Score – Motion Picture
The Artist – Ludovic Bource

Best Original Song – Motion Picture
“Masterpiece” – Madonna

Best Foreign Language Film
A Separation, Iran

Cecil B. Demille Award
Morgan Freeman

Television

Best TV Comedy or Musical
Modern Family

Best Television Series – Drama
Homeland

Best Mini-Series
Downton Abbey

Best Actor in a TV Drama
Kelsey Grammer, Boss

Best Actor in a TV Musical or Comedy
Matt LeBlanc, Episodes

Best Supporting Actor in TV Series, Mini-Series, or Made-for-TV Movie
Peter Dinklage, Game of Thrones

Best Actress in a TV Drama
Claire Danes, Homeland

Best Actress in a TV Musical or Comedy
Laura Dern, Enlightened

Best Supporting Actress in TV Series, Mini-Series, or Made-for-TV Movie
Jessica Lange, American Horror Story

Best Actor in a TV Movie
Idris Elba, Luther

Best Actress in a TV Movie
Kate Winslet, Mildred Pierce

I’ll take a moment to comment where I can. The two biggest films of the year, I’ve yet to see; one because of the moving, the other because it still hasn’t been released in my city yet. Those two movies are The Descendants and The Artist. The Artist is actually my most anticipated film of 2011, so I am ecstatic that it will be opening at the local indie theater this coming week. I will likely see it and Tinker, Tailor, Soldier, Spy as a double feature this coming weekend. I can’t wait!

Though I haven’t seen the film yet, I was very excited about its (The Artist) wins – it’s shaping up to possibly be the first silent film since 1929 to win a Best Picture Oscar. Being a silent film aficionado, that’s music to my ears. Maybe more silents will be hitting the modern cineplexes because of its success. The next on the list I can comment on was for Best Supporting Actress for Octavia Spencer; I think this was definitely a deserved award for her incredible performance. In my review of the film from a couple weeks ago, I made special note of her and Viola Davis’s wonderful performances. Scorsese winning Best Director, but no Best Picture Comedy/Musical is a bit of a surprise, but I loved Hugo and his direction of the film was expertly handled, so this was a pleasant surprise as well. Now, for my most pleasant surprise…Woody Allen winning Best Writing! I haven’t written a ton about Allen on the blog, partly because I’ve seen all his films and most of the films I review here are recent watches. However, Allen is in my top five favorite filmmakers of all-time, and to see him win so much recognition after nearly a decade of lackluster films, is a good feeling. The only other win I can wholeheartedly support is Downton Abbey. I’m currently working through the second series with an iTunes season pass. So far, it’s been as good as series one, and that’s saying a lot.

Well, those are my views on what I feel I can comment on. Hopefully, within the coming week or two I’ll have a chance to catch up on my film going and have a little more informed opinion on this year’s best films. Stay tuned!

The struggle for film and film technology in the motion picture industry has been slowly giving way to the digital spectrum for nearly 20 years. Actually, video formats were said to be the way of the future as far back as 40 years ago. But, like a faithful canine companion, film has managed to stay its ground in the industry much longer than anyone expected, and we are just now seeing the “new kid in town” gaining the reigns.

In regards to still photography, I think it is safe to say that the battle between digital and film has been over for some time. Even up until 10 years ago, I could remember bringing my film to a processor more often than using a digital format. However, the business of photo processing has all but disappeared over the past decade. A once booming industry now only caters to the nostalgic interest of hobbyists and diehard enthusiasts. However, in the motion picture realm, though the cost efficiencies of shooting on a digital format are generally cheaper, the quality had always been the point of contention and the largest reason to opt for 35mm motion picture film in a production. With the development of cameras like the RED One, ARRI Alexa, Sony F65 and other large format, high resolution digital cinema cameras however, the motion picture industry too is finally giving way to the digital takeover.

Undoubtedly. the consumer still photography market collapse is likely the largest culprit, but the compound effects of loosing out on motion picture stock and printing as well, might be the death knell for the longtime champion of the celluloid image. According to an article released this past Wednesday from The Wall Street Journal, Kodak is preparing to seek bankruptcy protection as it continues to struggle with finding buyers for parts of its patent portfolio.

With the recent appointment of Laura Quatela as co-president, it seems that the company is trying to do its best to stay above water. Yet, even with the possibility of major restructuring, the long gold standard for what Kodak produced, still and moving image film, will likely not continue to be the focus from a corporate standpoint.

It hurts to see an industry giant die, especially when it is one that gave us as many memories as Kodak. We all were given the medium to capture our family and life moments, see places we may never have the opportunity to travel or images of people long dead before we were born because of this company. Furthermore, many of the movies over the past 100 years that have brought us laughter, joy, romance, anger, excitement and tears were captured because of the product that this company built as its foundation. Long on lists of companies that will likely soon become insolvent, I guess it was only a matter of time before these drastic measures were on the table. I will say, however, that I feel the world will be a little less bright without the magic of a “Kodak Moment.”